My third panel of Chengdu WorldCon 2023 was Online SF Publishing in Japan. The panel was held in Japanese and interpreted in Chinese at the Hall of Lunar.

Panelists were me, Virtual Golila+ (VG+) editor Kanata Inoue, and Hayato Saito, Hayakawa Shobo chief editor of SF-Magazine Rikimaru Mizoguti, writer Iori Miyazawa(宮澤伊織) and Isukari-Yuba(柞刈湯葉). The moderator was the Japanese-Chinese translator DingDing Chong(丁丁虫).

The introduction of panelists was along with the theme. At first, I introduced my debut process in 2012. I wrote my first novel and published my e-book via online platforms.

Inoue and Saito introduced VG+. VG+ was started as an SFF news publisher by Saito, but in 2020, they started the short story competition, Kaguya SF Contest. VG+ offered winner publishing on their website and translating in English and Chinese. After the contest succeeded, VG+ founded the online web publishing platform Kaguya Planet and started a commercial imprint label. Both Inoue and Saito told a lot about online publishing potential.

Mizoguti introduced general information about Japanese online publishing as a commercial publisher-editor and two writers Miyazawa and Isukari talked about web fiction platforms that bore tons of light fiction.

Iskari talked about patronage by using note.com. When he said that he earns one by six of the annual revenue with weekly blogging, audiences and panelists roared.

The Chinese audience seemed to enjoy our talk. The questions were interesting in. After the panel ended, it was impressive to see the two VG+ members surrounded and asked for autographs.

My third panel of Chengdu WorldCon 2023 was the Localization Paths of Science Fiction in Non-English-Speaking Countries.

Participants were Emad El-Din Aysha, Zoha Kazemi, Francis John Guillem Gene-Rowe, and me. The moderator was Regina Kanyu Wang.

After introducing of participants, Emad got the first introduction to a brief history of Egyptian SFF and remarkable current works with a screen presentation. And Zoha followed, a fascinating speech.

I only gave a brief situation speech. I had prepared a presentation of a brief history of Japanese SFF but didn’t use it. Because the theme of the title and the theme of the panel was changed from “Local Development Path of SF” to “Localization Paths of SF”. Presentations were for the former, but I understood both themes are necessary for discussing about the future. As I have read Emad’s and Zoha’s presenting papers, and aware those were very important for this convention, the first-international WorldCon. Of course, Japanese SFF is as important as those are but it is better known for audiences than both. Then, I focused on several necessary points of SFF media for the introduction.

The main theme, the discussion around the translation path was tough. Especially around Zoha, she can’t get a contract with Western agents because of sanctions, even can’t even send money. I really find that the Japanese situation is easier than in other countries.

Moderator Regina, and Francis who roles as good advisors worked well. They weaved two layered themes and made an incredible panel discussion.

The audience was remarkable. I attached their photos to this post.

My Second panel of Chengdu WorldCon 2023 was athe Japanese panel: How I Became a Professional Science Fiction Writer in 18th October at Neputune Hall.

Participant panelists are Hosuke Nojiri(野尻抱介), Satoshi Hase(長谷敏司), Haneko Takayama(高山羽根子), Taiyo Fujii (me) and Yugen Yashima(八島游舷) (order of the name is from the length of professional writing). The moderator was Japanese-Chinese translator Tian Tian(田田).

In Japan, most writers debut with literary contests for new writers, but all of us panelists had not passed through that way. Then, the episodes that we introduced were various, fascinating, and engaging.

Nojiri debuted with the game’s novelization, which was developed in his employed company. In other words, he debuted as a business writer and then was promoted to an SF writer himself.
Hase was the debut of Japanese light novels awards. So, he debuted with awards, but the publisher imprint label was not connected to SF publishing in his debuted years. He appealed to the Hayakawa publisher and became an SF writer, and won the Japan SF Grand Prize.

Takayama was from the sub-awards of the Sogen Short SF Awards. She contributed short stories to anthologies those are edited by Nozomi Omori and collected a short stories collection five years later.
In Japan, short story publishing slots were occupied by professional writers. If she did not win the sub-awards at first, she couldn’t pass the way she came.

I was self-published. I hoped my friends to read my first novel, so I published my work via e-book. Gene Mapper sold well, and I became a professional writer.

Yashima is from the SF writing school held by Nozomi Omori. His works were published on the class website. Later, he won several contests and debut. He’s a good example of Omori’s writing school became the major process of professional writer.

I watched the audience’s faces, and I found that they focused on our stories.

It was a good panel, thank you Tian Tian!